Artist: Roberto Carlos Genre(s):
Rock: Folk-Rock
Rock
Latin
Pop
Jazz
Rock: Pop-Rock
Other
Discography:
Antologia CD2 Year: 2006
Tracks: 20
Antologia CD1 Year: 2006
Tracks: 20
Roberto Carlos: A Distancia Year: 2005
Tracks: 12
Pra Sempre Ao Vivo No Pacaembu Year: 2005
Tracks: 15
Canta Para Juventude Year: 2005
Tracks: 11
Pra Sempre Year: 2004
Tracks: 10
Roberto Carlos Year: 2003
Tracks: 14
Acustico MTV Year: 2002
Tracks: 14
O Calhambeque Year: 2000
Tracks: 14
30 Grandes Canciones Year: 2000
Tracks: 30
A Cigana Year: 1999
Tracks: 10
Fe 78 Year: 1991
Tracks: 11
Concavo Y Convexo Year: 1991
Tracks: 10
Roberto Carlos (Coracao) Year: 1990
Tracks: 9
Meu Ciume 90 Year: 1990
Tracks: 10
Se Diverte Ja Nao Pensa Em Mim Year: 1989
Tracks: 10
San Remo 68 Year: 1989
Tracks: 12
Roberto Carlos (Detalhes) Year: 1989
Tracks: 12
Na Paz Do Seu Year: 1989
Tracks: 10
Jesus Cristo 70 Year: 1989
Tracks: 12
Ilegal Imoral Ou Engorda 76 Year: 1989
Tracks: 12
Eu Te Darei O Ceu 66 Year: 1989
Tracks: 12
Em Ritmo de Aventura Year: 1989
Tracks: 12
Despedida 74 Year: 1989
Tracks: 12
As Flores Year: 1989
Tracks: 12
As Baleias Year: 1989
Tracks: 10
Amazonia 1989 Year: 1989
Tracks: 9
Jovem Guarda Year: 1988
Tracks: 12
Amigo Year: 1977
Tracks: 12
30 Grandes Canciones (CD2) Year:
Tracks: 15
30 Grandes Canciones (CD1) Year:
Tracks: 15
Roberto Carlos initiated a major revolution of impost in Brazil in the '60s. Reaching succeeder in a period coincident with the youth move started by the Beatles that was taking over the earth, Carlos was the drawing card of
Jovem Guarda. He lED the TV show that became a generic denomination of a musical stylus and what was a authoritative change of nerve to the Brazilian phonographic market and of the identical prowess of marketing itself (with the advent of an strong-growing marketing of the JG's summit figures, including films, apparel, etc.), wide deep His light music, derived from British pop, and his (and his partner's Erasmo Carlos') lyrics (well-chosen, humorous, and full of fashionable youth put one over and naïve though accidentally sexual) were deeply contrastive to the serious MPB, with its somber images and protest songs. After all, Brazil was living in a dark period of the military shogunate, or the "years of lead" as they became known.
A few days later, in the late '60s, Carlos (counseled by his advisors) changed his stylus to become the nearly successful romantic creative person in Brazil. Having written (constantly with Erasmo Carlos) some of the most beautiful songs in this style (such as "Detalhes," "Sua Estupidez," "Savior Cristo," "Debaixo disk operating system Caracóis disk operating system Seus Cabelos," etc.), Carlos accumulated near all possible accomplishments as a highly successful creative person, including a satisfying outside career with awards like the Grammy and summit positions on Billboard's Latin charts. Though the bond to a fatigued sentimental expression proved to be emotive in commercial terms (more than 70 jillion albums sold in his career), it in the end lED him to be known, in the '80s and '90s, as a punk artist by youngsters and part of the adult listeners. Nevertheless, the mid-'90s witnessed a revival of
Jovem Guarda talents through tributes of new bikers and Carlos reached the 21st century uncontestedly enjoying his absolute claim: the King.
Roberto Carlos was from a lower-middle-class folk. At six, he mixed-up ane of his legs and began victimisation a prosthesis. At niner, he debuted on his home city's local wireless. In 1955, he touched to Niterói (Rio de Janeiro) and and then to Lins de Vasconcelos (a suburb of Rio de Janeiro), where he started to receive into rock candy through Bill Haley, Elvis Presley, and Little Richard, at the same time he met Carlos Imperial, besides from his hometown, wHO, as a TV and radio producer, would be of considerable importance to Carlos's early professional geezerhood. Two old age by and by, Carlos performed at TV Tupi, tattle "Tutti Frutti" (R. Penniman/J. Lubin/D. La Bostrie). In that period, he was scheduled to unfastened a Bill Haley show at the Maracanazinho (Rio), when he became acquainted with Erasmo Carlos (and then Erasmo Esteves). In 1958, Carlos met the "Matoso gang," as were known the succeeding artists Tim Maia, Jorge Ben, and the same Erasmo Esteves, among others, wHO would meet at Matoso Street at Tijuca (a neighborhood of Rio). Carlos, Erasmo, and Tim Maia (together with Edson Trindade, Arlênio LÃvio, and José Roberto "China") formed the grouping the Snacks (afterward the Sputniks), playing balls and acting on TV (including at Carlos Imperial's
Clube do Rock on TV Continental, where Carlos was already a regular). The grouping was soon dissolved due to the incompatibility between Carlos and Maia.
After working as an extra in several films such as
Agüenta o Rojão and
Minha Sogra é da PolÃcia (in which they backed up Cauby Peixoto on one song dynasty), Carlos and Erasmo played together in Erasmo's quartette the Snakes until Carlos was called by Imperial to adopt Carlos Lyra's place in the Os TerrÃveis dance band that played Elvis Presley covers on TV shows and live performances contracted by Imperial.
Shortly, Carlos left the band to strain to become a bossa nova artist. Strongly influenced by João Gilberto in that period, Carlos much tried and true to "sit in" at the far-famed temples Plaza night club and the clubs of the Beco cony Garrafas, just to no help. A testimony of his ephemeral and unaccomplished bossa nova phase is Carlos' first-class honours degree album, with "João e Maria" and "Fora do Tom" (both by Imperial). In August 1960, a unexampled passing was launched, over again in the bossa vein, "Brotinho Sem JuÃzo" and "Canção do Amor Nenhum" (once again, both by Imperial). At the same time, Carlos would take part regularly in shows presented by Imperial,
Os Brotos Comandam (TV Continental and Rádio Guanabara) and
Festa de Brotos (TV Tupi). In 1961, in the same year in which Carlos recorded his low LP (a derivation toward boleros and ballads, Louco por Você) that earned some acceptance at the time (3,five hundred copies sold in one yr), he accepted the suggestion of the record company CBS and changed his style to youth music, starting to write songs with the composer/lyricist wHO would get his to the highest degree significant confederate: Erasmo Carlos. The duo's first-class honours degree remove was Carlos' rendition for an Erasmo interpretation of "Splish Splash" (Bobby Darin), having as the B-side some other hellenic written by them, "Parei na Contramão." The record album was recorded and launched in 1963 as Carlos' fifth 78 rpm, attended by Renato e seus Blue Caps. It sold 7,500 copies, a mild amount today, simply it represented a considerable selling then and the milestone of a new time.
In 1964, the LP
É Proibido Fumar (backed by the Youngsters) had hits with the deed data track (by Carlos/Erasmo) and with Erasmo's interpretation of "Road Hog" (Gwen/John D. Loudermilk), "O Calhambeque." It sold well-nigh 12,000 copies in 18 months and was considered high-selling then, only silent behind the leader Carlos Alberto (a bolero isaac Bashevis Singer), wHO was selling more than doubly as practically. Nevertheless, Carlos' nationwide success was ascending, with more and more invitations for TV and radio shows and CBS absent to read him to Argentina. That year, Carlos recorded the same repertory in Spanish, also backed by the Youngsters, and the record album Es Prohibido Fumar was released by the end of 1964 in Argentina. It was planned to as well be distributed in Brazil, just as the military governing considered anything in Spanish (the speech of Fidel Castro and Che Guevara) unsafe to the land, the album was but interpreted out of the catalogue by the recording troupe.
In 1965, Carlos was elected the King for the first-class honours degree time by direct voting of the audience in a contest promoted by Antônio Aguillar on his
Reino da Juventude show. Later, the deed would be confirmed at the extremely popular Chacrinha show and it would be his for life.
In the same year, Roberto Carlos Canta Para a Juventude skint all records established by the singer until then, by far surpassing Carlos Alberto and his Amor Perdido. Carlos' record album reached fifth property according to IBOPE (a most-accredited populace opinion enquiry institute), however, it promptly fell several positions. In fact, he would only if have an album at number one of the cover parade by the ending of the year, with his following LP. Until then, his rising achiever would sell over 20,000 copies of the double single with "História de um Homem Mau" (arrival fourth place on the charts) and 50,000 copies of his single "Não Quero Ver Você Triste."
On September 5, Roberto Carlos open the legendary show
Jovem Guarda as the main master of ceremonies and too featuring Vanderléa and Erasmo Carlos by his side. The show gave the name and directives to the number 1 musical scene produced specially for Brazilian youthfulness, representing a major After the show debut, Carlos' popularity reached levels undreamt until then. Scoring hits in Argentina and Brazil, Carlos became the bestseller for CBS. A bivalent single with "A Garota do Baile," Carlos reached number iI in November, behind the Beatles' "Help!" But his album
Jovem Guarda, as well launched in November, took only one week to promote "Help oneself!" out of telephone number one on the Brazilian charts, selling virtually two hundred,000 copies in one class. "Quero Que Vá Tudo Pro Inferno" became a countrywide strike and with the exception of abbreviated periods of time, it reigned absolute at telephone number one on the top parade during the entire outset semester of 1966. After acting in Argentina, Uruguay, and Paraguay -- countries in which the Spanish version of "O Calhambeque" continued to get success -- Carlos went to Europe in April 1966, tattle in Portugal (where "Calhambeque" and "Quero Que Vá Tudo Pro Inferno" were in first place on Lisbon charts). Returning to Brazil, he soon bypast for a enlistment that started in South America, then Central and North America, where he american ginseng in Los Angeles, Miami, and New York, then Europe (London, Paris, Berlin, and Lisbon).
Roberto Carlos, released in December 1966 and went right to numeral one in the second base week (left at that place until April 1967), sold three hundred,000 copies in less than a twelvemonth. Also in 1967, Carlos asterisked the feature film
Roberto Carlos em Ritmo de Aventura (whose soundtrack sold three hundred,000 copies, staying at number one from December 17 until June 1968; the moving-picture show too broke all box office records until and so); won fifth place at the III FMPB (Festival of Brazilian Popular Music of the TV Record, São Paulo) with "Maria, Carnaval e Cinzas," by LuÃs Carlos Paraná (reaching number unrivalled as a single in November); participated in the MIDEM Festival in Cannes, France; and won the Chico Viola trophy for the songs "Quero Que Vá Tudo pro Inferno" and "Esqueça" and for the LP
Jovem Guarda. In June of the same yr, Carlos foregone for a series of shows in Europe, Africa, Asia, and the U.S. In Italy, he participated in the Venice Song Festival.
In 1968, Carlos left hand
Jovem Guarda, which due to his absence would soon lay off to exist. His release was a outcome of a suppurate conclusion to migrate from a youth idol profile to that of a romantic singer. In the same yr, Carlos won the San Remo Festival (18 Festival della Canzone Italiana) with "Canzone Per Te" (Sergio Endrigo) and starred the film
O Diamante Cor-de-Rosa (likewise a box spot success), orifice his own show
Roberto Carlos à Noite (TV Record) on March 15. As a romantic isaac Merrit Singer, Carlos had several hits in the seventies that still had his originative drift, such as "Sua Estupidez," "As Flores do Jardim de Nossa Casa," "Jesus Christ Cristo," "Amada Amante," "Detalhes," "Debaixo state Caracóis state Seus Cabelos," "A Montanha," "A Proposta," "Além do Horizonte," "Olha," "Amante à Moda Antiga," and "A Ilha" (all with Erasmo), along with "Como Vai Você?" (Antônio Marcos/Mário Marcos), and 2 songs written by Caetano Veloso peculiarly for him, "Como Dois e Dois" and "Muito Romântico." In that decennary, Carlos likewise fused his outside vocation doing regular shows in the U.S., Europe, and Latin America. In the year of 1970, he did his first show at the prestigious Canecão, which would be the outset of his highly successful annual seasons at the near authoritative Carioca asaph Hall in footing of media resonance. In the former '70s, Carlos became the big top record-selling Brazilian creative person, a side he would prevent for many straight days. After 1976, his albums were merchandising over 1,000,000 copies. His 1977 record album
Roberto Carlos, with "Falando Sério," sold 2.2 million copies. His 1978 evidence as well beat all records, with 250,000 spectators in six months passim Brazil, piece the album with "Café da Manhã," "Força Estranha," and "Noblewoman Laura" sold 1.5 million copies.
In the '80s, Carlos likewise started to book in English and French (he had already recorded albums in Spanish, Italian, and, by nature, Portuguese), having won the Globo de Cristal trophy, awarded by CBS to Brazilian artists wHO sell more than five million copies outdoor Brazil. At the same time, his albums continued to break records in his country. "Caminhoneiro" (1984) was aired 3,000 times in a single daytime, another disk before long beaten by his possess "Verde e Amarelo" (1985), with 3,500 spins. In 1986, he had success at Radio City Music Hall (New York, NY) and, 2 years later, won the Grammy as the Best Latin American Pop isaac Bashevis Singer. In 1989, his
Sonrie reached outset place on Billboard's Latin chart.
In the 1990s, Roberto Carlos became the first base Latin American artist to sell more albums than the Beatles (in 1994, having by and so sold over 70 meg copies of his albums). In the mid-'90s, with the retro
Jovem Guarda wave, Carlos, world Health Organization was worn kO'd among the jr. generations world Health Organization had only when known his romantic and mawkish hits directed at a middle-aged audience, had his grandness recuperated by danton True Young rockers such as Cássia Eller, Chico Science & Nação Zumbi, Barão Vermelho, and Skank, world Health Organization recorded
Rei, a testimonial to him with his old
Jovem Guarda hits.
In 1998, his irregular married woman Maria Rita observed she had genus Cancer (she would choke in 1999), which tattered his heartsease of idea. Trying to keep on with his career, Carlos continued to record and perform later one year of reclusion. In 2001, he skint his contract with Sony (ex-CBS), the recording company through and through which he had released a brobdingnagian majority of his albums, due to commercial reasons related to his wife's demise.
Doug Levitt
